Final version of Preliminary Task with a Frame by Frame Evaluation

By Sophie Dewberry and Lydia Robinson

The scene begins with a medium close up of the interrogator sat behind a large oak table. She is holding a pen and writing in a notebook. There are filing cabinets and files with documents placed around the room. There is low key lighting with the only source of light coming down to lighten up the characters faces. It hangs low and creates shadows around the room. The interrogator is wearing a dark blue turtle neck jumper, wears glasses and has her hair pulled back in a high ponytail. Her attire makes her look professional and formal however we can tell that she isn’t a policewoman as she isn’t in uniform. This indicates that she works for the police force which is supported by her later dialogue. There is no music or sound in the background which gives an eerie and mysterious atmosphere.

This shot is the same as before but the door has been knocked with the use of diegetic sound therefore the interrogator looks up to acknowledge the interruption. This means that there will be a motivated edit as the next shot would need to show more of who knocked the door. In all, this take is long which implies that the action hasn’t begun yet.

A close up of a door handle is shown next which the audience can only assume is the one that leads into the interrogation room. There is high key lighting at this moment which is emphasised by the reflection on the metal handle and the white paint. The door is old which is shown through the slightly yellowed edges and chipped paint.

The age of the door is conveyed further in this shot from the large vertical crack. In the same close up a hand glides into shot to turn the handle and enter the room. The owner of the hand, which we assume s the suspect, is placed to the right of the frame so we can see them taking their time as they turn the handle.

This is still a close up but as the door swings open the dimensions change slightly because we have more space displayed in frame. The suspect pushes the door slightly with his fingers causing him to have more prevalence due to his reluctance of entering the room.

The suspect begins to enter the room and the audience gets a glimpse of more of the room. We see that it is gloomy and mysterious as well as upholding the old fashioned interior explained at the start. We also get to see that the suspect is wearing a black jacket which supports the dramatic conventions of a crime drama – dark clothing to connote that the characters are hiding something.

There is a medium close up of the suspects legs and the audience gets to see that his bottom half is dressed in black like his top. This particular frame shows quite a looming figure standing in the door frame. This contrasts greatly with the bright white surroundings.

The suspect proceeds to walk across the room while the camera tracks his movements (match on action). He approaches an old oak table and chairs which the audience understands is the one that the interrogator is already sat at therefore confirming our suspicions of who the unidentified character is. There is diegetic sound of his rustling jacket.

The suspect pulls out the chair with ease and at a slow pace so as to build the tension and suspense furthermore.

It cuts to a behind the shoulder shot (beginning of a shot reverse shot) of the interrogator who begins to ask the suspect questions. This choice of shot shows the amount of space between the characters – there is quite a lot which conveys that they don’t have a close relationship. The decision of showing the interrogator first enhances the lost identity of the suspect. The audience still hasn’t seen his face but are expecting it very shortly. The interrogator is lit warmly which could portray that she is the good person here. Her facial expression doesn’t fit to the lighting however. There are no pleasantries just getting down to the business at hand and accusing the suspect of wrong doings.

The shot reverse shot is continued when the camera is placed behind the shoulder of the investigator. This allows the audience to see the suspects face for the first time. We see that his face is also quite sombre and instantly he defends himself from the investigators accusations. This could imply that he is in fact guilty which the audience know is the most probable case as he is the one lurking behind doors and blending into the shadows. This technique is supported by the 180 degree rule which is shown in this sequence. The camera remains on the right side of the interrogator and the left side of the suspect.

After stating that his innocence the audience are drawn into an extreme close up of the interrogators eyes. They are narrowed which suggests that she is trying to work something out and also has connotations to psyching someone else up. Her gaze remains steady and fixed on the suspect. This shot is also slightly low angle. There is a non-diegetic heartbeat sound added to this shot and the following close ups. This adds to the tension and implies that emotions are building up and the suspect is panicking.

There is a quick cut to the next low angle shot which is a big close up of the suspects eyes. Unlike the interrogator’s, his eyes are diverted from one point of focus to another. He can’t hold her stare which is another implied meaning of his lack of innocence.

A 4 second close up of the interrogator twiddling her pen proceeds the eye shots. This is a fast paced movement which begins to build up the tension even further. It could portray that the interrogator is agitated by the suspect.

The previous 3 screenshots are repeated 7 times to build tension. The takes increase in tempo to emphasis the stress in the suspects mind. By speeding up the shot of the suspects eyes we can imagine that he is panicking and therefore seeing all of this happening a lot faster than anyone else. The heartbeat is extremely intense at these moments. At the end of this sequence the interrogators next question is layered over the top of the moving images.

The interrogator is interrupted by the suspects shout at the end of the last sequence. A low angle medium shot shows the suspect slamming his hands on the table and rises out of his seat and proceeds to walk out of frame. He does this because he is angered and probably worrying about not coming up with a good excuse. When he says his line at the table he finally makes eye contact with the interrogator to intimidate her. His eyes are narrowed to signify his anger and irritation but also to convey that he shouldn’t be messed with.

An eye level close up proceeds. The interrogator is attempting to calm down the suspect.

The interrogator takes off her glasses before turning her head to face the suspect. This is a symbol of exasperation and seriousness.

The interrogator turns her head to look at the suspect. He remains out of frame but the interrogator looks to the right hand side of the camera to indicate that she is talking to him.

The next shot is a medium two shot. The camera is placed further away from the table and gives more detail of the room. The suspect is looking out of the window which lightens his face. The audience see that the characters still have negative facial expressions. The suspect has his back to the interrogator which is another connotation that he is hiding something from her.

The medium shot remains the same as the suspect reluctantly goes to sit down. His movement is slow and slumps in his seat with his arms crossed in front of him which shows that he is uncomfortable and protecting himself. The interrogator tracks his movement with her eyes and moving her head slowly to the left. She is trying to spook him by keeping calm but accusatory.

This frame begins another shot reverse shot. It’s a medium close up which becomes tighter when the suspect leans forward menacingly. The audience can see that he is leant all the way back in his seat and glaring up to look at the interrogator. He is making himself seem intimidating.

The suspect clasps his hands and places in front of him on the table and leans in angrily towards the interrogator.

The camera moves behind the suspects shoulder for the audience to see the interrogator’s sarcastic rhetorical question. Her mocking retort and judging is placed in frame. Her actions and voice conveys that she doesn’t believe the suspect. She scoffs to indicate her disbelief further.

We get a medium close up two shot profile of the characters. They have made eye contact while the suspect continues to protest his innocence. The audience see that she isn’t fazed by his growling voice which implies that she is a strong and possibly corrupt character. The shot zooms slowly from a medium close up to a regular close up. This is done to emphasis the prolonged silence between the two and indicates a scene change is about to follow.

A fade is added to conclude the scene. It is done gradually to stifle the tension. It goes to a completely black screen.

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